On October 24, 1978, "Rush" released their sixth studio album "Hemispheres". And what a crazy album it is .... the compositions are even more complex than what this band has done so far, intricate and complicated rhythms, psychic and asymmetrical time signatures, and challenging and crazy solos. And of course, all of these demanded a perfect, virtuoso, precise playing level from this amazing trio. In order to bring all this goodness to fruition, the band expands the range of instruments it plays on, especially Neil Peart who pads his drum set with a wide variety of percussion instruments including gong and Timpani that were not included in his drum set in the past. If we could put our finger on the first prog metal album, it would probably be "Hemispheres". True "Rush" did it back in 1975 with " Caress Of Steel ", they improved the formula with " 2112 " and diversified it with " A Farewell to Kings ", but this time it's already a whole new level. This is without a doubt the pinnacle of the band's progressive era, but also its swan song in reference to this special style, as in future albums "Rush" will swim with the current and begin to move away from the advanced genre and the long and complex musical pieces. So before we dive into the review itself, some technical and statistical data. This is the band's second of 3 albums to make "Rolling Stone" magazine's list of the 50 greatest prog albums of all time. It reached the respectable 11th place, ahead of quite a few good prog classics. This album was also ranked eighth in "Rolling Stone" magazine's readers' survey of their favorite prog albums. The album includes only 4 tracks. The first side includes the musical piece " Cygnus X-1 Book 2: Hemispheres " which is divided into 6 parts, while the other side contains only three sections. This is the band's first album featuring an instrumental track - " La Villa Strangiato ", which is divided into 12 parts and lasts about 10 minutes. It is also the album that was the hardest for Geddy Lee to perform in terms of singing. The band first recorded the music without making sure the scale is suitable for singing for Geddy, forcing him to stretch his abilities to the edge and his vocal cords even above and beyond the ordinary. The only two songs from the album (the other two are an instrumental track and an epic piece), "The Trees" and " Circumstances ", were released as singles. It is also the band's latest album recorded and mixed in England. And now for the content: The main musical piece on this album " Cygnus X-1 Book 2: Hemisphere s", is the second book in the work "Cygnus X-1" and a direct sequel to the first book located as the last track of the album " A Farewell to Kings " and is called "Cygnus X-1 Book 1: The Voyage ". So, for those unfamiliar with the first chapter of the work, we will mention that "Cygnus X-1 Book 1" is a song divided into three parts that tell the story of a space explorer on a spaceship named "Rocinante", who made his way to the black hole, "Cygnus X-1", while believing he could cross it and discover what is beyond. The piece ends as the explorer approaches the black hole and his ship gets out of control and is pumped powerfully into the black hole. For more on the first book and for that amazing album, read the review we wrote about it here : The second book and the subject of our current review, "Cygnus X-1 Book 2: Hemispheres", continues from exactly the same point and tells us how the same space explorer survived and managed to get out on the other side of the black hole into Olympus, where an argument takes place between Apollo (the brain) leading the thinking people and Dionysus (The heart) which leads the people with emotion, while the same researcher (who will be crowned as Cygnus) will serve as a mediator whose job is to balance them. The word "Hemispheres" reflects the two lobes in the brain with Dionysus and Apollo each representing a different lobe. Already in the first sounds of the album, during the Fade In, you can actually hear and imagine how the explorer's spaceship is sucked through the black hole and comes out of its other side, and we are already entering the first of 6 parts of the musical piece - " Prelude ". This is an instrumental part that lasts about 3 minutes, which is like the "overture" from " 2112 ". It includes fragments from the parts that will accompany us throughout the musical piece. One does not have to be a fanatical fan of "Rush" to appreciate the virtuoso playing ability and the amazing, high-quality composition presented here. Just listen to the rhythm changes, the hallucinatory time signatures that are replaced like socks and the amazing playing ability. Turn up the volume, and listen up to Geddy Lee 's bass strolling around Alex Lifeson 's riffs, you will notice the precise timing and amazing combination of the drums with the guitar and bass, the syncope, the breaks, the arpeggios, the palm-muted strings. Even the "Triangle" comes to ecstasy when Neil Peart 's drumstick touches it. Just perfection, perfection, perfection !!! After the instrumental section, we move on to a verbal introduction designed to get us into the story. It explains the struggle between the gods of "love" and the "logic" that since the dawn of history have been fighting for the control of human beings. After a bar-length pause (4:24 min) we move on to the second part of the work " Apollo (Bringer of Wisdom) ". Apollo is the god of the sun and art in Greek mythology. He represents the left lobe of the brain. During this section Apollo introduces himself and just like in an election campaign explains Why it is better that he will rule over humans? He explains that he brings wisdom, truth and understanding. He assures humans that he will help them understand and find food, fire and shelter. At first, humans are happy with what the god Apollo offers them, they learn, become more efficient, build for themselves a social life and cities of residence, but they still lack something and they do not understand what exactly. The episode ends when humans cross the "Bridge of Death" in search of Dionysus to get answers from him about what they lost along the way. Alex Lifeson 's crazy and amazing solo (6:24 min) literally accompanies us crossing the bridge until the humans reach Dionysus. The third part of the musical work begins at 7:00 am and is called " Bringer of Love ". This part opens with a speech by Dionysus who, like Apollo, explains to humans why he is the one who is good for them. He is a "human" and emotional god compared to the other gods, he is, in fact, the complete opposite of the God Apollo, where Apollo is the enlightened, planned, and calculated "mind", while Dionysus is the hedonistic and spontaneous emotional "heart". A calculated and planned but emotionless life, it is the one that will bring them love, excitement, laughter and music, happiness and tears. Humans are eventually convinced, leaving the safe cities and Apollo and moving to live in the open forest, in the woods, under the stars, in an idyllic life of love, happiness, and music. But, the harsh winter caught them unprepared, hunger and wolves only added to the problems and led them to utter despair. The fourth part " Armageddon (The Battle of Heart and Mind) " is a section that begins at 9:00 min. and introduces us to the "Gog and Magog" war of the two gods, the battle between the heart and the mind. It explains how the entire universe is divided into two in the war between the heart and the mind and how the people were abandoned without a leader to guide and lead them, while they drifted after the gods and fought each other. At the end of this part, the melodic section describes how those who did not fight boarded the spaceship "Rocinante" with the explorer on their final journey in search of the formidable "Cygnus" to help them end the incessant battle between heart and mind and the Gods Apollo and Dionysus. The segment ends when the left channel in the stereo changes to the right and with a dramatic effect that comes after the word "Hemispheres". The fifth part " Cygnus (Bringer of Balance) " opens with an "atmospheric" and quiet section, starting at 12:00, during which we are witnessing "flashbacks" from the space and time travel of the ship "Rocinante". These "flashbacks" are embodied through small musical parts from "Cygnus X-1 Book 1" of the previous album (from the section" The Voyage"), which were transplanted into the instrumental part. At the end of the instrumental section, the researcher is presented as a spirit without body and without form, To move and intervene, he cries from within, and then... all of a sudden the quiet ends, and everything explodes with a loud entrance and screams from Geddy Lee (14:35) and the hawkish warriors who felt the great sorrow of the researcher, stop their fight and crown him as Cygnus God of balance. The musical piece ends with an acoustic and melodic section " The Sphere (A Kind of Dream) " with a message of hope and a lot of optimism. In this part, Cygnus calls for the unification of the two lobes in order to produce one complete and unified lobe. The other side of the album opens with " Circumstances " drummer Neil Peart wrote about his stay in London when he flew there as a young musician in search of a musical career and his return about a year and a half later to Canada, straight into the band's arms. The musical style here is reminiscent of the basic hard rock from the band's first albums, only with the sound and production we get on the band's next album " Permanent Waves " from 1980. The second track on the other side of the album " The Trees " is perhaps the biggest and only "hit" out of it. In the best Neil Peart 's tradition, this is an allegorical imaginary story that is a kind of parable about human behavior. The lyrics speak of an imaginary conflict that takes place between the oak trees and the maple trees - a kind of comedic wink of a Peart that conveys the way Canadians (maples) feel towards the Americans (oaks). It should be noted that in an interview with Peart from 1980 for "Modern Drummer" magazine, he stated that the song has no specific meaning. He just watched a cartoon and saw trees talking and thought what if the trees were behaving like people. It is interesting to note that at the end of the song the "Maples" band together and pass a law then the saw, axe, and hatchet cut down the tall trees (the oaks) that hid the sunlight from them, in order to create equality between them all. This describes the socialist worldview of Ian Rand whose work "Anthem" starred on the album " 2112 ". This piece became a sought-after classic in the band's performances and in some of the tours it was given a longer instrumental intro played by Alex Lifeson called " Broon's Bane ". "The Trees" is actually a mini-epic that includes three main time signatures, some of which are asymmetrical. Most of the acoustic section is played at 6/8, while most of the heavy section is 4/4 and the instrumental transition section is played at 5/4. The last track on the album " La Villa Strangiato " is the first instrumental piece that the band recorded. The subtitle of it is: "An Exercise in Self-Indulgence" and how true this subtitle is. This is a very complex section for playing, that includes no less than 12 sub-parts and extends over about 10 minutes. The band members claimed at the time that it took them longer to record this track than the entire second album " Fly By Night ". Although it is an instrumental piece it tells a full story that is divided into 12 parts. The inspiration for the work came from Alex Lifeson 's dream, and the music in it describes the events in that dream. The playing of all band members here is wonderfully virtuoso, especially Alex who is just at his peak. It is interesting to note that "Rush" was influenced in this section by the work " Powerhouse " by Raymond Scott from 1937. Listen to the track of Rush starting from 5:49 and in contrast to the track by Raymond Scott starting from 1:24 here and tell us what you think: And now just turn up the volume and listen to this wonderful piece. For Listening to the original album: Spotify , Apple Music For Listening to the album in its extended version on the occasion of 40th anniversary, which includes a rare live show : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 23, 1970, "Genesis" releases their second studio album - "Trespass" and performed one of the great musical makeovers. How many artists do you know, who in less than a year have undergone such a fundamental change in their musical style and sound, as "Genesis" has gone from " From Genesis to Revelation " to "Trespass". From the sweet pop style of the "Bee Gees" to dynamic progressive rock. From simple songs lasting 3:00 minutes on average to long works with complex compositions. From the use of basic instruments of guitar, bass, piano, drums, to playing a wide variety of instruments such as accordion, dulcimer, mellotron, cello, 12-string guitar, and flute. It's not that there are no other bands in the music world that have undergone a radical change in their musical style, it is just that this is usually a gradual development and not such a sharp and noticeable change as happened with "Genesis" and the album "Trespass". On this album the change was so substantial that some fans refer to it as the band's first album, while others will tell you that these are two different bands. Although they are from a completely different genre, it can be said that the process that "Genesis" went through on this album is similar to the process that "Pantera" underwent with the album " Cowboys from Hell ". The transformation that "Pantera" went through was so sharp that we chose to call them "Transformers of Metal" because of their ability to "change shape" and reinvent themselves. It also happened with "Skid Row" (albeit at a lower dose), which we called "the Werewolves of heavy metal" after the change they made on the album " Slave to the Grind ". But in both cases the changes, do not match the upheaval that "Genesis" underwent, neither in terms of period nor in terms of genre and style difference, so, at least for us, it is one of the biggest makeovers in music. So how is this "revolution" manifested? It all started following the commercial failure of the debut album " From Genesis to Revelation ", which caused the band members to leave the music world and turn to other pursuits, except Peter Gabriel who played flute on the album "Mona Bone Jakon" - Cat Stevens' third album. But then something happened. In August 1969, the band members returned to work together, having finally managed to break free from the contracts with "Decca" and their producer and manager Jonathan King. As you may recall, King was quick to sign the band on a recording contract while they were minors between the ages of 15-17 and urged them to produce pop songs with an emphasis on the "Bee Gees" sound, a band he loved very much. After the release from King and the record label, the band members unanimously agreed that the pop style that King forced on them was not what they wanted to do. They decided to write more complex material than the simple pop of the debut album " From Genesis to Revelation ". They wanted to explore and mix musical styles to create songs that would sound, unlike any other band at the time. As a first step, they bought new equipment, including a bass guitar and a Hammond organ, and recorded a demo that included the songs "White Mountain" and "Family" (which would later become "Dusk"). Drummer John Silver then left to study in the United States and the band was forced to look for a drummer to replace him. It all happened really fast, in September of 1969 "Genesis" had already played its first live performances in the new line-up with drummer John Mayhew. In the early 1970s, the band performed for six weeks in a row at Ronnie Scott's Jazz Club, in Soho, London. Producer John Anthony from the "Charisma" came to one of these shows, and he immediately worked to sign them on a recording contract. The material for the album was written "on the move" and after a few months of performances "Genesis" already had enough written material to record two albums. However, they felt that some of the songs were not strong enough so they chose the best material in their opinion and in June 1970 went to "Trident" studios in London to record the album. They took John Anthony with them as a producer and recording technician. The band members said that Anthony's contribution was important and that he helped them design the materials for the album. This help from Anthony will get him to the job of producer in the band's next album " Nursery Cryme ". Although this album was written and recorded before Phil Collins and Steve Hackett joined the band, listening to it will reveal that it is not much different from the band's classic lineup albums. The strong dynamics, the rhythm changes, the complex compositions that shaped the sound of "Genesis" exist in most of the songs on this album. True, it lacks the heavy keyboards that will come later, after Tony Banks will add a variety of instruments to his keyboards rack and specializes in playing the Mellotron. It's also much more acoustic and lacks the "electric" dominance and solos that Steve Hackett will bring with him, but the musical style and sound base of "Genesis" exist here, especially in the opening track " Looking for Someone " and the final piece " The Knife ". Listen for example to the passage from 2:52 on the song " Looking for Someone " and you will understand what we are talking about. This album was an important milestone in the development of Genesis' sound, but more than that, it laid the essential foundations for the classical progressive rock genre, as we know it. Admittedly, not all of the pieces of the puzzle have been discovered here yet and fitted into place, but one could see the potential inherent in this band. Already here it was possible to predict that great things were yet to come for "Genesis." (Photo: Medium.com) The album features 6 tracks, three on each side of the vinyl, with an average of over 7 minutes per song, and already this should point at the complexity of the material. It opens in a minimalist way with the enchanting and mesmerizing voice of Peter Gabriel , to the sounds of Tony Banks ' Hammond organ. If the band stated during the writing that they wanted to create songs that will not be similar to any other band at the time, then from the first seconds of " Looking for Someone " it can be said that the "search" for a new sound and style was crowned a successful !!! And if anyone thought drummer John Mayhew was the weak link in this album, then he should listen again to the transitions starting at 1:10 for example, and reconsider. If anyone thought guitarist Anthony Phillips' contribution was minor, he should look again at the album's credit list, because he would be surprised to find that Phillips was involved in writing all the songs on the album, more than any other band member. While he pulled in a more acoustic direction, he was also amazing at playing an electric guitar, as can be heard for example starting at 6:00 of the song. It's one of the most beautiful songs on the album, but dare we say it's also one of our band's favorites. It is full of rhythm changes and transitions, it is full of melody and it is also rich in sounds, although as mentioned at this stage the band has not yet built the range of instruments that will come in the next albums. One of the instruments that enrich the band's sound on this album is the flute of Peter Gabriel , which can be heard starting at 3:33 to the song. He is very dominant on this album, much more than the band albums that will come later. We do confess. We have a weakness for flute sounds especially in progressive rock, so we will always have a warm place in our hearts for this album. The second track " White Mountain " already expresses the all-too-beautiful duality of Anthony Phillips and Mike Rutherford playing their 12-string guitars. The two who also wrote the melody undoubtedly influenced the band's unique sound on this album and Rutherford will take this sound with him to the upcoming "Genesis" albums. Lyrically, keyboardist Tony Banks wrote the words about power struggles over the leadership of a pack of wolves, referring to the name of the album in the sentence: "Outcast he trespassed where no wolf may tread." The first side ends with " Visions of Angels " the song closest in style and sound to what the band produced on their debut album, which is no wonder, as the song was originally written for the album " From Genesis to Revelation ", but was not used because the band did not think the recorded takes were good enough. The song began as a piano composition by Anthony Phillips back in a time when his piano playing technique was limited. He tried to produce a song similar in style to the "Beach Boys" and the "Beatles", so its structure is very basic and simple in comparison to the other songs on the album. The other side of the vinyl opens with " Stagnation " which began as a long instrumental piece called "Movement", until Peter Gabriel decided to add words to it, that tells of a man who suddenly discovers he has become the last refugee of the human race. In a song that in its first version was supposed to serve as the main piece of the album and reached 13 minutes, you can hear the 12-string guitars of Phillips and Rutherford, which testified that the first recording had 10 different layers of acoustic guitars, but they were mostly peeled out in the final mix. " Dusk " is the shortest on the album. Its opening chord threw us 7 years ahead of the opening chord of "Wonderous Stories" by "Yes", but that sums up the similarities between the two. An almost completely acoustic song in which the guitar work of the Rutherford-Phillips duo stands out, along with Gabriel's beautiful flute solo. The album ends with the masterpiece " The Knife " which is without a doubt the highlight of the album, which does not fall short of the great works of the band's classical lineup. A more aggressive section of the rest of the songs on this album, featuring bursting rhythms and rough riffs with a heavy "distortion" sound. The phrase "The Knife" sounds similar to the phrase "The Nice" and Peter Gabriel will later say that he did want to write material similar to "Rondo" of "The Nice". This dynamic piece lasted up to 19 minutes in the band's performances, but was reduced to 8 for the album. It features some of the band's most aggressive and angry parts, which is probably also why they used to play it as an encore, to excite the audience. It is interesting to note that the album cover corresponds with the title of the song and includes a knife that cuts the painting to its full width. During the sessions for the album, additional songs were written and recorded such as: " Shepherd ", " Let Us Now Make Love ", " Pacidy ", " Going out to Get You " and more, but they were left out. The album "Trespass" is a very important album that helped shape the sound and style of "Genesis", but it is also an essential part of the musical development of the progressive rock genre. In this album, the foundations were laid on which the band's so unique sound in the classical era is based on. Immediately upon completion of the recordings drummer John Mayhew will be fired. After that Anthony Phillips will also leave the band, due to what is defined as "stage fright". Replacing 2/5 of the band is not a trivial matter, especially when what of them was so dominant in writing. Some bands simply do not survive such a shock, but not "Genesis who has proven time and time again for three decades that it can remain relevant and star at the top of the music world, thanks to the joint creative power, not least thanks to the co-creative power that characterized it throughout the career, which softened the dominance of each of the parts of the whole. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Linkin Park's" album "Hybrid Theory" was released on October 24, 2000 !!! More than 20 fucking years have passed since the "one step"... Did you hear the scream ??? If it were possible to articulate writing in screams this is what would happen here now, so imagine this post written in screams! Why? Because it is impossible to describe in words what is happening on this album, the earthquake that this album created, and its impact in any different way! This is basically what's so amazing about music: how a bunch of 'kids' in their twenties bring all their talent, their guts, their complexes, and their demons, and with a little help in production they create an overwhelming, crazy, kicking, and shaking energy bomb. (Photo: Mick Hutson) We always imagined this album as a scene from a movie where the main star (Mad Max) is frustrated, mad, and entangled, getting into his formidable vehicle in the middle of the arid desert. He slams the heavy door, puts in the pitchfork-like key into the ignition, turns it over and the vehicle comes to life, with the roar of its seven-liter engine. He lifts his leg as if he is trying to reach the steering wheel with his knee and drops it powerfully on the gas paddle. The roar of the engine is heard throughout the desert as it blends in with the howls of the tires tearing at the eardrums. The engine's RPM (rounds per minute) jumps to the red range of the scale and settles there comfortably when the engine does not drop below 8,000 rounds per minute. The ride does not even come close to a roller coaster, it is far beyond that. The vehicle is thrown in curves, hovering in the air up and down, and you, with our leading actor, are in complete loss of control over body and mind! This is the best-selling rock album of the 21st century. Do you understand what you have just read? Album of the Century. Yes Yes! The album has sold over 30 million copies worldwide. A crazy success that cannot be digested at all. True, the friends have more than once admitted that they aspired to succeed (a liar who says he does not want to) and from the first step, they did everything in their power to carry out their aspirations and dreams. When Chester Bennington first heard the instrumental demo tape he was immediately turned on and knew exactly how he was going to sing. When he finally met the band members he knew it was it! This is exactly what he was looking for - a bunch of young talents who know what they want and have a clear plan. So they have often been accused of being businessmen and not the hippies of music, but it is impossible to take from them their talent, ability, and creativity. In honor of the 20th anniversary, the band released a super deluxe edition in October 2020 that includes lots and lots of surprises. Earlier that year the band asked its devoted fans to send photos and videos about their connection with the album. The band's website has been updated and designed according to the album's cover style and the website design of the 2000s. The twentieth package of course includes the album itself, the "Reanimation" album (which is a masterful remix album based on "Hybrid"), "Hybrid Theory EP", a large number of B-sides, demo recordings, excerpts from live performances and other remixes. In addition to the musical content, there are also quite a few other surprises such as: DVDs, special posters, and a special surprise in the form of an 80-page book that includes rare pictures of the band members from that period. This album got to make another history when in 2020, it again reached the top of the charts and took third place, with the release of the Deluxe, twenty years after its release! So this time we feel it would be a bit pretentious on our part to try to describe in words this amazing piece: the moving songs, what Chester brings with his voice and lyrics, the talent of Mike Shinoda , who knows how to dress it all up for an extreme and unusual arrangement. Therefore, until we update this review you will have to settle with the first paragraph, which defines exactly the impact that this album has on us. Now, turn on the system or put on headphones, note that the volume is at the maximum, press play, and feel the ride in the car, to listen on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... The band that was among the leaders of the heavy metal scene in the USA in the early 80's releases on the 23rd of October 2020 its 8th album - "Punching the Sky" . This is the band's first album in 5 years, since "Win Hands Down" which was released in 2015. The band is still led by singer John Bush , who was also a member of "Anthrax" for a short time and was invited at the time by James Hetfield to be the lead singer of "Metallica", but refused. The lineup on the album includes longtime friends bassist Joey Vera, drummer Gonzo Sandoval and guitarists Jeff Duncan and Phil Sandoval. Bush noted that the spirit of guitarist Dave Prichard, who passed away in 1990 from leukemia, lines the album. In August 2020, the band released the first single from the album " End of the Attention Span ", a classic metal song with nervous riffs and angry vocals by Bush, which definitely proved that there is something to expect from this veteran and experienced group. In September 2020 we got to know the second single with the Irish opening whose title is a statement of intentions and its lyrics also include the title of the album name. From the initial listening, it seems that this is the band's best album in three decades and that there are no downfalls here. Bush's voice has even improved over the years and the band sounds cohesive and tight as if five years have not passed since their last album. Tracks list: 01. Standing On The Shoulders Of Giants 02. End Of The Attention Span 03. Bubble 04. My Jurisdiction 05. Do Wrong To None 06. Lone Wolf 07. Missile To Gun 08. Fly In The Ointment 09. Bark, No Bite 10. Unfair 11. Never You Fret Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Editor's Choice... On October 23, 2001 (it's so long when you think about it now) the fourth album by the band "Incubus" which we love so much came out. The album, titled "Morning View" , was a refreshing change from the Nu-Metal in which the band grew up and with which it was associated. For the sake of creating the album, the band decided to rent a house in California on "Morning View Drive" street, where the album got its name. They decided that in order to be creative in the best way they need a place where they could write and create at any given moment during the day, without having to travel back and forth like "work". The location of the house was important because Brandon Boyd (who described himself as spoiled) asked that the house be close to the beach so that he could go out for breaks and wade or surf in the ocean waters. By the way, from the house balcony, they could see the view of the ocean which reinforced the choice for the name of the album and the album cover. (Photo: Incubus) As the best tradition of the band (if we exclude the album If Not Now When? ) There is an eclectic combination of styles here. There are of course the strong aggressive elements of the band in songs like "Circles", "Blood On The Ground" and "Under Umbrella." Of course, there are also groovy tracks here that are one of the strong points of the band like: "Nice to Know You", "Are you In"? (Mesmerizing). There are a lot of soft and moving tracks like: "Just a Phase", "11 am", "Warning" and "Mexico" (also mesmerizing). The exotic ballad that closes the album and is fundamentally different from the other songs on the album "Aqueous Transmission" uses a Chinese instrument called "Pipa" and accompanies a Japanese orchestra. "Pippa" was given to Mike Einziger (the guitarist) by the famous guitarist Steve Vai . In the video clip as in the picture above, you can see the house where the album was recorded. We highly recommend taking an hour and savoring the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 23, 1995, Ozzy Osbourne  released his seventh studio album, "Ozzmosis". After announcing his “retirement” following the "No More Tours" run in 1992, few believed Ozzy Osbourne  would truly walk away. But like any restless artist haunted by the stage, he couldn’t stay silent for long. Three years later, he returned with renewed energy, a new label, and an album that blended darkness, melody, and reflection — all filtered through the unmistakable lens of the Prince of Darkness. By the mid-90s, heavy metal was shifting. Grunge had peaked, alternative ruled the airwaves, and classic metal acts struggled to find their footing. Yet Ozzy, backed once again by Zakk Wylde  on guitar and Geezer Butler  on bass, refused to chase trends. Instead, he crafted an album that merged his doom-laden roots with a modern sheen. The album’s first sessions were initially recorded with producer Michael Wagener and a different lineup that included bassist Mike Inez  and drummer Randy Castillo, with the intention of capturing a sound similar to " No More Tears ". However, those recordings were later shelved, and Ozzy opted to start fresh with producer Michael Beinhorn, known for his work with "Soundgarden" and "Red Hot Chili Peppers", giving the final album a more modern and atmospheric edge. However, in the end, out of Wagener's produced material, the songs " Aimee " and " Living with the Enemy " were released as B-sides The sessions took place at "Guillaume Tell Studios" in Paris and "Electric Lady Studios" in New York, where Ozzy surrounded himself with both familiarity and experimentation. "Perry Mason"  written about Erle Stanley Gardner' fictional American criminal defense lawyer, bursts the album open with a cinematic drama with a haunting Mellotron performance by Rick Wakeman of "Yes". Zakk Wylde ’s slithering riff joins in and add to the theatrical weight. The song was released as the first single from the album, and is undoubtedly one of Ozzy’s strongest late-career singles, combining mystery and menace in equal measure. "I Just Want You" , co-written with Jim Vallance, is pure emotion — a confession stripped of theatrics and colored by Wakeman’s Mellotron layers that give it a ghostly, atmospheric touch. The song expresses a desire for stability and a simpler life, with directness and vulnerability that reveal a side of Ozzy often overshadowed by his wild persona. "Ghost Behind My Eyes"  is one of the calm and catchiest songs on the album, while "Thunder Underground"  and “ My Jekyll Doesn’t Hide ” revisit the thick, grinding riff work that made Zakk’s name, adding modern heaviness to Ozzy’s timeless phrasing. Then comes "See You on the Other Side" , perhaps the album’s emotional core, which proves the new direction and sound Ozzy was seeking on this album. It's a haunting reflection on death and legacy, co-written with Lemmy Kilmister  of "Motörhead". The song’s slow build and poignant melody cement it as one of the most powerful moments of Ozzy’s entire career. Elsewhere, "Tomorrow"  and "Denial"  reveal Ozzy's melodic instincts still intact, even as he stared down personal demons. "My Little Man" , co-written with Steve Vai for Ozzy's son Jack — a delicate, almost eerie lullaby that hints at both tenderness and torment, with layered arrangements that perfectly envelope this introspective journey. The Album closes with the piano-driven ballad " Old L.A. Tonight " - a beautiful and melancholic ballad that serves as a fitting curtain call. "Ozzmosis" debuted at No. 4 on the Billboard 200 and quickly went double-platinum in the U.S., proving that even in the alternative-dominated 1990s, Ozzy’s voice still mattered. It was a reminder that beneath the theatrics and madness lay a survivor — one who could still craft songs of beauty and dread in equal measure. It may not reach the revolutionary heights of " Blizzard of Ozz " or " No More Tears ", but "Ozzmosis" stands as Ozzy’s last truly essential solo work of the century — a bridge between the myth and the man, between the darkness and the reflection that follows. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 23, 1995, "The Smashing Pumpkins" released their third studio album "Mellon Collie and the Infinite Sadness". It is unbelievable that more than a quarter of a century has passed since the release of this album. It may not be the band's greatest album in our humble opinion, but it's undoubtedly its artistic highlight, the flagship, a stunningly beautiful work divided into two parts, "Dawn to Dusk" and "Twilight to Starlight" and featuring 28 songs spanning two full discs, Or three vinyl albums. It's amazing to think what a change the band has undergone since the process of creating the previous album " Siamese Dream ". The band was then in such a big slump that threatened its existence and even caused Billy Corgan suicidal thoughts. To understand how deep the crisis was in the previous album, you are invited to read the short review we wrote about it. And now, just two years later, the band is already in a completely different place, at the pinnacle of its creation. It functions as one complete organism, as a well-oiled machine that is part of a production line of transcripts and music. The album "Mellon Collie and the Infinite Sadness" is the result of a crazy creative outburst by the band. Unlike the previous album, this time "The Smashing Pumpkins" worked as a cohesive band, with a significant contribution from all members and especially from guitarist James Iha and bassist D'arcy Wretzky, this is different from what happened on " Siamese Dream " which was on the verge of a Billy Corgan solo project. True, all but two of the album's songs were written by Corgan, but all four members were part of the creative process and contributed to the result. The only two songs not written by Corgan are the song that seals the first disc, " Take Me Down " written and sung by James Iha, and the song that concludes the entire album " Farewell and Goodnigh t" written by Corgan and Iha and sung by all four members of the band. To understand the size of the creative burst that the band experienced, we will note that the recordings of the album ended with 57 finished songs, of which only 28 were selected for the album. This is an insane amount of songs most of which were left out of the album and released about a year later as part of a 5-disc box released by the band called "The Airplane Flies High". Another amazing statistic is that one of the excerpts from the box called "Pastichio Medley" which is 23 minutes long is actually a medley of dozens of riffs composed after the release of " Siamese Dream " and put together into one extra-long track. Just think what the band could have done with the same raw material of the dozens of riffs and how many more songs could have been developed from them. Billy Corgan intended to create a double album inspired by the Beatles' " White Album ". He felt that the band's musical direction on the first two albums had exhausted itself and wanted to create what he would later call "Pink Floyd " The Wall " for Generation X". To reach such a level of writing, Corgan asked his bandmates that their approach during the creative process will be as if it was their last album as a band. In addition, he decides to leave producer Butch Vig who produced the band's previous albums, and team up with producers Flood and Alan Moulder, who have worked with "My Bloody Valentine", PJ Harvey, Nick Cave, "U2", "Depeche Mode" and "Nine Inch Nails". Corgan explained that after the hard work with Butch they became so close that it was clear they would think and act similarly. Billy Corgan thought that at this point it was a disadvantage that prevented thinking "outside the box" and the band's musical development. The choice of Flood and Alan Moulder proved itself, as on the one hand they took the band to distant and different districts and on the other hand preserved their basic DNA. During the recordings, Flood insisted that the band will take enough time each day to improvise and write songs, which inevitably affected the sheer amount of songs written on these sessions, as well as the quality of the writing, as the improvisations led to a huge variety in musical styles. "Mellon Collie and the Infinite Sadness" was designed in such a way that the first half represents the day (Dawn to "Dusk") and the second half the night ("Twilight to Starlight"). Billy Corgan rejected the idea that it was a concept album, but noted that the album was based on "the intense pain of human existence." In any case, the songs on the album are conceptually understood as a symbol of the cycles of life and death, so there is still a connecting thread that unites the entire work into one complete fabric. Musically this album is very diverse compared to previous albums and combines several genres. The diversity was also reflected in the use of additional musical instruments such as pianos, synthesizers, harps, guitars, and even strings. During the recording of the album, the guitars were tuned in some of the songs at half-tone down and in another part like " Jellybelly " the first string was tuned down in what Billy Corgan called "Grunge tuning". But beyond the diversity of musical styles and instruments, this album is more than any, a production album. Compared to previous albums, a greater combination of samples, electronic loops, and overdubs has been used. For example, the song " Thru The Eyes of Ruby " contains about 70 layers and recordings of guitars incorporated into the song. (Photo: consequence.net) As for the album itself, from the moment the needle falls gently onto the vinyl, the listener is sucked into the musical piece. We open "Dawn to Dusk" in a melancholy atmosphere and also tell the name of the instrumental track " Mellon Collie and the Infinite Sadness ". We must point out that when we first played this track, we were sure it was a mistake. We thought we were listening to an outtake that was left out from one of the albums of "This Mortal Coil" or to any album of a gothic band from the label "4AD". The piano fitted with the Baroque illustrations that appear on the outer and inner cover and we just felt like we were passing into another period in time. To understand the magnitude of the impact of Flood and Mulder's production, you must listen to the demo from the extended version of the album. "Mellon Collie" was also originally a quiet piece, but it was played on an electric guitar and just sounded different, lacking the atmosphere that the piano and meticulous production gave it. The melancholy atmosphere of the opening track is sporadically scattered throughout both parts of the album, as if to remind us that although it is not a concept album and even though there seems to be only a loose conceptual connection between the tracks, we still deal with a work that should be treated as a whole. This atmosphere exists in pieces like " Take Me Down " with the howling electric guitar and the vocals reminiscent of Neil Young , it exists in the trippy " To Forgive ", in the sleepy " Galapogos " and more. Listening to this album is like cruising with a ship on the high seas. From time to time the sea "bursts" and the ship glides comfortably on the water as in the songs " Thirty-Three ", " In the Arms of Sleep " or " Stumbleine " and sometimes a storm occurs and the ship swings between formidable waves in stormy water as in " Jellybelly ", " Zero " or " Tales of a Scorched Earth ". These drastic changes in the state of the sea only intensify the enjoyment of this shaky voyage and the immense sense of satisfaction when at last this musical ship arrives at a safe shore. Five singles were released from the album. The first was " Bullet with Butterfly Wings " written by Billy Corgan about the pain that accompanies the life of a rock star when the words "the world is a vampire" describe Corgan's feeling that everyone wants something from him. This song won the Grammy Award for Best Hard Rock Performance and is also the first "Smashing" song to be ranked in the Top 40 in the Billboard 100 Hits chart. It is interesting to note that Corgan initially wanted the song " Jellybelly " to be the first single, but eventually, he chose "Bullet" because he thought it was a more "catchy" song that would sell better and represent the album better. The second single released from the album is " 1979 " and it deals with the transition between childhood and adulthood. It was the last song written for the album, Billy Corgan asked to put the song in, at the last minute, because he thought it had potential and the producers gave him 24 hours to finish writing, so that the song could be included on the album. Corgan drove home and at night finished writing the lyrics when the song was recorded the next day. The third single " Zero " is the first song written for the album and it describes Billy Corgan as a very apathetic person who has a very hard time expressing emotions. The recording of this song combines no less than six channels of rhythm guitars and two channels of 12-string acoustic guitars. Unlike the rest of the singles, this song was released as part of an EP that includes six b-sides and one medley called "Pastichio Medley", which incorporates no less than 70 song parts from the album's sessions, along with excerpts from songs included on the album. The fourth single from the album " Tonight, Tonight " was written by Billy Corgan as a homage to the band "Cheap Trick". Here, too, the lyrics refer to Corgan and the difficult childhood he went through, but the closing words of the song are full of hope and optimism: "The impossible is possible tonight." The song is accompanied by the "Chicago Symphony Orchestra "which includes 30 strings and was originally written on scale C but since that scale was high on Billy Corgan 's voice it was eventually performed on scale G. It is interesting to note that the mysterious and amazing clip for this song won six MTV Awards. The last single released from the album is " Thirty-Thre e" and is the first song that Corgan wrote when he returned home from a tour that accompanied the previous album " Siamese Dream ". He used a drum machine while writing and claimed the lyrics just spilled out as he played the song. Billy Corgan called it a "simple country-oriented song". The guitars are tuned half a ton down and the drum machine that is heard in the recording is taken from the first demo that Corgan recorded at his house because Corgan did not remember how to recreate that beat. It should be noted that the band intended to release the song " Muzzle " from the album as the last single, but in the end, they didn't and it is not clear exactly what the reason was. The intent can be learned from the fact that the song was released to radio stations around the world. In light of the broadcasts on radio stations and although not released as a single, the song reached number eight on the "Modern Rock Hits" chart and tenth place on Billboard's "Popular Rock Hits" chart. The album "Mellon Collie" may not be a masterpiece, but it is definitely an ambitious and inspiring musical work, which is very unique compared to the genre and period. In our humble opinion, this is the best album of the "Pumpkins" if the albums are treated as one complete work. True "Siamese Dream" definitely gives it a fight but for us "Mellon Collie" wins by points. For listening to the extended version of the album : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

The album "House of Gold & Bones – Part 1" was released on October 22, 2012, do not get confused this is not another TV series on one of the streaming providers, this is the first part of a pair of albums released by "Stone Sour" in 2012 After the band's third album "Audio Secrecy" , Corey Taylor decided he wanted to do something special, he wanted to create a double album, it is not known where the burst of creativity and the number of songs came from, but the members created a pair of albums here for the glory of the work. The first episode is very gloomy and dramatic, a dark story about the inner battles of a man going through a traumatic relationship breakdown, putting us in his bowels and the depths of his soul until we ourselves shout save. Corey said that this is a person who is trying to find himself, everyone finds himself at some stage in life at a crossroads that evokes personal evolution and tries to understand what he wants to do with the rest of his life. Don't worry Episode 2 will 'come' but you have a year to brew in its gastric juices. (Photo: wall.alphacoders.com) We got a taste with the release of the first and combined single (a huge idea to put these two songs together), 'Gone Sovereign' and 'Absolute Zero' are both a purposeful display of what's going on on the album. The first speaks of the condition of the hero who is at a difficult stage in his life, a kind of shell of himself when all his heroes have disappeared. Now they are so full of hatred that they have nothing left but "absolute zero." Musically, this is Stone Saur on a stimulant cocktail that throws her to insane levels, we have no way of describing it better than how the band's guitarist Josh Rand described it in one of the album interviews: "'House of Gold & Bones' takes everything that's great about this band and amplifies it. The riffs, the lyrics, the grooves, and the songs are like Stone Sour times 10. There's also heavy stuff that's like nothing we've ever done before It's dark as hell and a complete experience from the first track to the last. ” And on Corey what shall we say..., he is exciting, sweeping, beating, insane, and mesmerizing as usual. A huge talent of vocalist who knows how to process the music and release it in a phenomenal way. This is one of his most significant, mature, and sophisticated albums vocally in our humble opinion. Songs like 'A Rumor of Skin', 'RU486', 'Last of the Real' and 'Taciturn' bring it out in a wonderful way !! The song 'The Travelers, Pt. 1 'is the midpoint of the beginning, so exciting that no matter what stage you are in life, you will find your own place in the song. His sequel 'The Travelers, Pt. 2 ’which arrives at the midpoint of the end is a direct sequel that throws you into the sky and you feel like Jack Black when he hears rock and roll !! Now click on one of the following links: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 22, 2002, the "One By One" album by "Foo Fighters" was released and there is a big chance that you did not even notice it. This is the band's fourth album that apart from its two hits, "All My Life" and "Times Like This", is not really known. Let’s face it - even if you are a big fan of the band there is a very good chance that you did not listen to songs from this album unless one or two songs accidentally infiltrated your playlist. Although this album does not sound unique and is not a masterpiece like the previous three albums, it is an album with a defining moment. During the creation of this album, the band was on the verge of falling apart! Unbelievable that after only three albums, great albums, the band was on the verge of total disintegration! From the outside, the band seemed to be on top of the world. The album "There Is Nothing Left to Lose" was a resounding success. It gave the band a huge commercial success with two Grammy wins and also a crazy world tour, but inside everything was rotten and was starting to crumble... It all started in August 2001, towards the end of the previous album's tour, when drummer Taylor Hawkins "suffered" from a heroin overdose and went into a coma for a full two weeks. In later interviews, Dave Grohl said it was a very difficult time in his life when he felt he was losing his best friend. The band stopped the tour, went on a short break and after a slight recovery, they met to work on the new album at Taylor's studio in California. They took producer Adam Kasper and technician Nick Raskulinecz and began working on what later became known as "Million Dollar Demos". Nothing from what happened there in the studio was positive. The band members often quarreled with each other over every little thing and concentrated more on the production of the songs than on the melody and lyrics. The songs sounded lifeless and completely characterless to everyone. It was also the first time the band members had used "Pro Tools", the famous recording software. In short - nothing good came out of it, including ten demo songs that cost close to a million dollars. (Photo: musicradar.com) The band's "new" guitarist Chris Shiflett , who was recording with the band for the first time, was overwhelmed. He did not expect such a dismal experience with the big and famous band he had joined recently. Dave said that after three and a half months of work nothing sounded like the band. Nothing sounds right. Since everyone felt like Dave, they decided to shelve the recordings and take a break, especially because their manager, John Silva, also claimed that "no one would want to buy this album". After six years of restless work, this was the first time the band went on a break! This break took each of the band members in different and distant directions and only reinforced the possibility that this was the beginning of the end. Dave moved to become a full-time drummer of "Queens of the Stone Age" and went on tour with them. Chris and a friend of his brother and together they worked on the projects "Viva Death" and "Jackson", the bands Hard Rock and Punk Rock. Taylor started playing with the bassist of "Jane's Addiction" and together with Nate Mendel they also played in "Juno", an indie rock band. They all found occupations and concentrated on doing other things, with the band seen far behind. The only one who was really anxious about the situation was Knight. He called Dave anxiously from time to time to find out if he was leaving the band. Although Dave tried to convince Knight that the band was his home and he would never leave it did not really work, until... In April 2002, the band was scheduled to perform at the Coachella Valley Music and Arts Festival, held once a year in Indo, California. The band members did not really want to attend the festival and rehearsals for the show were a natural disaster: friction, quarrels and a lot of frustration came out in rehearsals that were the stamp that was supposed to lock down this thing called "Foo Fighters". But despite what happened in rehearsals they decided to live up to their commitment and perform at the festival. What has been said and what can we say... There are cases in which events take place that appears on the outside as something normal, completely normal, but they have an essential value in the sequence of events and the writing of reality. It happens both in our lives, the "ordinary", and in the lives of the "stars". This show was supposed to be a disaster or rather the band's last show, The End! But surprisingly, the performance is the one that ultimately made some sense in them and made them realize how much they love what they do, especially when they do it with each other. Immediately after the show, they decided they had to move on and work on the new album. To change the feel and atmosphere of the previous recordings, they decided to work in Studio 606, which is located in Dave's home. To complete the change, or refresh if you will, Dave gave Nick, the young technician, the role of producer (who also produced the following album with them: "In Your Honor" ). A little story about Nick: Dave had to record a song for the soundtrack of the movie "Godzilla" and when he got to the Sound City studio Nick was there by chance to collect his salary. Since the regular technician was not there, Nick, who happened to be there, offered Dave his services. Dave, who really liked working with Nick, remembered him in the recordings for this album and attached him as a technician for the first recordings (Shengzo). In the second recording, he promoted him and gave him the role of producer. The recording of the album (in the second round) lasted about four weeks. Dave was present for the first two weeks and then went on a tour with "Queens of the Stone Age". Nick finished the last two weeks with the rest of the band. From the first recordings that took place, and by the way lasted something like four months, only the song "Tired of You" entered the album, in which the legendary guitarist of the Queen Hello band was Brian May Although the band wanted to create a great rock album, even though critics saw it as one of the band's heaviest albums and despite winning two Grammy Awards in 2003 and 2004, it was one of the band's "lost" albums. Apart from the two popular singles on the album, no other song was a success. The first single, “All My Life,” which aggressively opens the album, generally began as an instrumental track, which the band’s director recognized as a potential hit. Dave did not know at all how to write the lyrics for him, but since everyone thought he would be a hit Dave put in an effort, and indeed the single came in the first place (and also won a Grammy). The second single, "Times Like These", is a song that Dave wrote about the band's break period, the period when he went out "to graze in foreign fields". Dave talks in the song about how he felt missing as if he was not himself because he was away from the band. In 2020 this song became a kind of anthem of the Corona plague. Beyond that, there are no more significant songs on this album and we hope you do not get angry but that is our opinion. This is indeed a significant album in terms of history and the way the band has gone but not musically. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Friday release # 115 The prog-metal giant "Dream Theater" is releasing its 15th album - "A View from the Top of the World". This is the band's first album recorded in its private studios - "DTHQ (Dream Theater Headquarters)". Work on the album began about a year and a half after the release of the previous album "Distance over Time" in 2019. The band took advantage of the break from live performances and covid-19 quaranteens, with most of the writing done through the "Zoom" App - the band members in the US while singer James LaBrie in Canada. LaBrie took a break between closures and came to New York, to the band's private studio, and record his vocal parts. The album was produced by guitarist John Petrucci and was mixed and mastered by the almighty producer Andy Sneap. Petrucci apparently plays an 8-string guitar this time !!! He was interviewed in August 2020 for "Ultimate Guitar" magazine and stated: "The eight-string project with Ernie Ball Music Man is something we are working on and hoping to have developed as this year goes on. I'm hoping that on the next Dream Theater record I'll be able to explore that." This album is probably going to stretch the boundaries of the band and the listeners according to the band's own publications, which mentioned the following words on its Facebook page: "To stretch beyond our limits To blaze a brand new trail Bold enough to conquer Brave enough to fail ... " The song list reveals 7 songs that spread over 70 minutes and perhaps this indicates the band's intention in the words: "to stretch beyond our borders .. To tell the truth, on first listening we have did not heard any more extreme music or new tricks that we have not already heard from this virtuoso bunch. "Dream Theater" has long succumbed to creative stagnation and would rather stay in its comfort zone than challenge itself and its fans. It started with the first single released from the album - "The Alien". A classic prog-metal piece with all the long-familiar clichés of the band, which did not innovate anything, and it continued with the second single "Invisible Monster", so we did not come with great expectation to get something different on this album. And yet, we must say that we really have no problem with that. We just love everything this virtuoso bunch releases. For us, "Dream" is a symbol of perfectionism. A different level of musicians, precision, synchronization, technique, production, so we feel that this album is far beyond what we are able to discover on first hearing Song List: 1) The Alien (9:32) 2) Answering The Call (7:35) 3) Invisible Monster (6:31) 4) Sleeping Giant (10:05) 5) Transcending Time (6:25) 6) Awaken The Master (9:47) 7) A View From The Top Of The World (20:24) For Listening: Spotify , Apple Music Follow us on Facebook or Subscribe to the website "Face/Off" - Israel's Rock Blog & Radio show, Sundays at 11:00

Friday Release #116 "U.D.O." of Udo Dirkschneider releases it's new album - "Game Over" and without noticing this is already their 17th album. It's absolutely amazing how Udo Dirkschneider does not stop for a moment and continues to release materials from several projects simultaneously. July 2020, U.D.O. Collaborated with "Das Musikkorps der Bundeswehr", the military band of the German Federal Armed Forces, on an album called "We Are One". In March 2021 the band U.D.O.'s fifth live album was released. Named "Live in Bulgaria 2020 - Pandemic Survival Show", which was recorded on September 18, 2020 and was one of the only shows that took place of such magnitude in front of an audience during the Covid-19 lockdowns. This album included a collaboration with his former bandmates Peter Baltes (bass) and Stefan Kaufmann (guitar) and it led to the formation of a new band called "Dirkschneider & The Old Gang" which released an EP called " Arising " in August this year. Today, as mentioned, the 17th studio album was released, Which includes no less than 16 new songs !!! As can be understood even from the title of the album,"Game Over" continues the line of "We Are One" and warns that if humanity will not reconsider it's ways, it could find itself facing deadly consequences. The line of protest that calls for the world's awakening can also be learned from the title of the songs themselves. For example, "Prophecy," "Marching Tank," or "Kids And Guns," which deals with increased arms sales and regulation in the U.S. arms industry, leading to higher homicide rates. Musically we get more of this great thing called U.D.O. - Powerful, melodic and sweeping Power/Symphonic metal. This is the band's first studio album in 3 years, since the excellent "Steelfactory" LP released in 2018. This is the first time the band has written an entire album with the two new members, bassist Tilen Hudrap and guitarist Dee Dammers, who have already visited Israel in a live performance at the Havana Club TLV in April 2019. For Listening: Spotify , Apple Music Songs List: 01. Fear Detector 02. Holy Invaders 03. Prophecy 04. Empty Eyes 05. I See Red 06. Metal Never Dies 07. Kids And Guns 08. Like A Beast 09. Don't Wanna Say Goodbye 10. Unbroken 11. Marching Tank 12. Thunder Road 13. Midnight Stranger 14. Speed Seeker 15. Time Control 16. Metal Damnation Follow us on Facebook or Subscribe to the website "Face/Off" - Israel's Rock Blog & Radio show, Sundays at 11:00

On October 22, 1969, the second studio album of "Led Zeppelin" was released - known as "Led Zeppelin II" !! This masterful album was released just 9 months after the debut album "Led Zeppelin". The musical material on the album blends American blues, English folk, and rock with psychedelic touches, and is served on a bed of memorable riffs, bounced to jazzy bass beats, spiced with thunderous drum beats, and caramelized by one divine voice! This feverish stew will give birth to the flagship dish. A new musical style that will later be crowned as "Hard Rock" and will change the face of the music world forever. Unlike the debut album which was recorded entirely in one studio in London in a short time, the second album was recorded in six different studios in North America including New York, Los Angeles, Memphis, and Vancouver. Each song was recorded separately, produced, and mixed separately, making the result no less amazing, as the sound and production are so balanced, uniform, and cohesive, that the whole album seems to have been recorded and edited in one place. The reason for recording the album in so many locations lies in the fact that the band was at that time during a tour to promote their debut album. Despite this, the record company wanted to take advantage of the momentum and put pressure on the band to release a follow-up album. Due to the busy schedule of performances, the band was forced to enter recording studios in the destinations where they performed and this is the reason for the scattering in the recording studios. The album opens up with " Whole Lotta Love " and one of the greatest and most influential riffs in the rock world ever. So let's not ignore the elephant in the room and put things on the table. True, Led Zeppelin is probably the biggest "lenders" in the music world. They did it before and will do it after and only the fact that they did not give credit to the real creators in real-time can be credited against them. In this case, the resemblance to Willie Dixon's song and Steve Marriott's singing style ("Small Faces") on the song "You Need Love" is far from coincidental. But all this does not in any way detract from the greatness of "Led Zeppelin" because the result of all the other artists were missing the "Hand of God" and the "magic touch" of "Led Zeppelin", to make them immortal songs. If only they would give credit to Willie Dixon in the first place for the inspiration and would not wait for the lawsuit then everything would be perfect. But the immortal riff is not the only reason this song is so amazing and memorable. John Bonham 's great and powerful drum sound contributes a lot to the result and was achieved by a trick by recording technician George Chkiantz. The song was recorded at the "Olympic" studios in London which were known for their high ceilings and the wooden floor that swallowed the sounds. To give the drums an open, powerful, and resonant sound, the recording technician placed the drums on an elevated platform and placed microphones in unconventional places. The psychedelic sound of this crazy piece starting at about 1:20, was achieved by Jimmy Page who also produced the album, and recording technician Eddie Kramer, while rioting on the console as they turn every possible button. Another interesting statistic regarding the recording of the song refers to one of the first times the "backward echo" effect was used. It is an effect in which the echo is heard before the singing is heard. Anyone who listens to the song starts at about 4:00, when Robert Plant begins with the phrase "Way down inside ..." the echo can be heard before Robert Plant 's singing. This all happened by mistake when another Robert Plant takes was mixed with the master. When Page and Eddie Kramer discovered this during the mixes they were no longer able to correct the mistake and were left with no choice but to intensify the effect so that it sounded like it was done on purpose. This song was ranked 75th on Rolling Stone magazine's 500 greatest songs of all time. "Q" magazine ranked the song third on the "100 Guitar tracks of All Time" list. The song also ranks third on the list of the 100 greatest rock songs of all time by VH1. The second track " What Is and What Should Never Be " makes bold use of stereo and you can hear the guitar go right and left between the speakers. The uniqueness of the song in its dynamics in the transitions between the quiet passages and the noisy outbursts. This is the first song in which Jimmy Page played the Gibson Les Paul guitar, that later will become his trademark. Until then he had played the Fender Telecaster guitar. It is also the first song in which John Bonham uses the Chinese gong as part of his drum set. You can hear it in the bridge part between Jimmy Page 's riffs. Rumor has it that Robert Plant wrote the lyrics about the affair he had with his wife's younger sister. The third song " The Lemon Song " brings us closer to another "lending" by Jimmy Page , this time from Howlin 'Wolf's "Killing Floor" song. In this case, too there was a lawsuit and here too "Led Zeppelin" had to give credit to the artist and pay royalties. Some of the lyrics were also "borrowed" by Robert Plant from the song "Traveling Riverside Blues" by blues artist Robert Johnson. "Led Zeppelin" also recorded this song which was not included on any record but appeared on the compilation album "Coda" and in a box released by the band. It is interesting to note that the echo in Robert Plant's voice in this song was not created as a result of an effect but only from the special acoustics in the Los Angeles studio. Also in this song, you can hear the Chinese gong of John Bonham who opens the song. From here we move on to one of rock's amazing ballads and one of the most beautiful love songs ever written " Thank You ". The song was written by Robert Plant for his wife Maureen and was supposed to be the first song in which he wrote all the lyrics from beginning to end. But even here there is a light "Lending", Because the lines "If the sun refuses to shine" and "When mountains crumble to the sea" are taken from the song "If 6 Was 9" by Jimi Hendrix . Interestingly, Jimmy Page sings background vocals here. You can hear him do this starting with the words "Little drops of rain". Another interesting statistic is Jimmy Page 's solo played on an acoustic guitar, something Page does not do much. We have to mention John Paul Jones' work with the Hammond organ, which is among his first and most beautiful with the band. The other side of the vinyl begins with the catchy and sweeping guitar line of " Heartbreaker ". It is interesting to note that the amazing and inspiring guitar solo was recorded separately from the song itself and in another studio. During performances, Jimmy Page tends to get carried away with the solo and incorporate various pieces of music such as: "Greensleeves", "59th Street Bridge Song (Feelin' Groovy)" and even "Bouree" by Bach. " Livin 'Lovin' Maid (She's Just a Woman) " actually connects with "Heartbreaker" and sometimes the radio stations would play them together, but it was never played by the band on shows because Jimmy Page hated it. The song was written about a fan of the band who Used to bother the band members in the band's early days. The song was released as a b-side for the song "Whole Lotta Love" and features background vocals by Jimmy Page who also plays 12-string guitar. The lyrics of the song " Ramble On " were influenced by the books of J.R.R. And The Hobbit's "Frodo Baggins" adventures and it's among the first songs to combine rock and fantasy, a combination that will gain momentum in the genre of hard rock and heavy metal. The song was recorded in New York. This song was not played in the band's live shows from beginning to end and includes John Bonham 's use of percussion, some say even don an empty guitar case. The instrumental track " Moby Dick " showcases the great abilities of John Bonham on drums. This song evolved from a drumming section called "Pat's Delight" which Bonham named after his wife. Jimmy Page used to catch Bonham jamming in the studio and he recorded parts of these pieces that were put together into this ostentatious drumming piece that sometimes lasted over 20 minutes in live performances, during which John Bonham also drummed with bare hands right up to bloodshed. Bonham's wife noted that the song was called "Moby Dick" since Bonham's son Jason Bonham would ask his father to play the "long song" and when Bonham asked his son why, the son replied that he was as long as Moby. The guitar parts at the beginning and end of this instrumental piece were recorded separately and later incorporated to create the final product. These riffs evolved from a track called "The Girl I Love She Got Long Black Wavy Hair" which the band recorded at BBC Studios in the spring of 1969. Here, too, the riffs were "inspired" by Bobby Parker's 1961 song "Watch Your Step". The album ends with " Bring It On Home ". Here, too, the opening and concluding section of the song was "borrowed" and influenced by a song by Sonny Boy Williamson written by Willie Dixon. The harmonica section was recorded in Vancouver. This immortal album is a milestone in rock music and is considered an influence on the development of hard rock and heavy metal genres. It helped to establish the status of the band as one of the greatest rock bands in history and gave "Led Zeppelin" its big break into the US and the world, with incredible sales figures that even managed to kick The Beatles' " Abbey Road " from the top. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website